Music in Golden-Age Florence, 1250–1750: From the Priorate of the Guilds to the End of the Medici Grand Duchy

Contents

• Preface
• Book the First
• Music in Late-Medieval Florence: The Duecento and Trecento
• Music and the Ecclesiastical and Political Organization of the Late-Medieval City
• The Duecento
• 1 * Church and State in Florence circa 1300
•    Santa Reparata/Santa Maria del Fiore
•    Palazzo della Signoria
•    Music at Santa Reparata/Santa Maria del Fiore
•    The Duecento Lauda
•    Instrumentalists of the Signoria
• The Trecento
• 2 * Secular Polyphony: The Beginnings of the Florentine Tradition
•    The Social Context of Performance
•    Johannes de Florentia (fl. ca. 1351)
• 3 * Secular Polyphony: Francesco Landino and the Central Florentine Tradition
•    Ser Gherardellus de Florentia (†1362 or 1363)
•    Donatus de Florentia and Laurentius Masii de Florentia (†1372)
•    Francesco Landino (†1397)
• 4 * Secular Polyphony: The Gallicization of Florentine Musical Culture
•    Some Florentine Kleinmeistern: Magister frater Egidius, Magister Guglielmus frater, and Corradus
•    Andreas de Florentia (Andrea di Giovanni) (†1415)
•    Some Florentine Kleinmeistern Redux: Bonaiutus Corsini and Andrea Stefani
•    Paulus de Florentia (†1436)
• 5 * Music in Communal Worship and Civic Life
•    Liturgical Polyphony
•    The Trecento Lauda
•    The Herald of the Signoria
•   
• Book the Second
• Music in Renaissance Florence I: The Quattrocento
• Aristocracy Emulated: The De Facto Medici Regime
• 6 * The Medici Regime and the Public Ecclesiastical Institutions
•    Nicolaus Zacharie and the Professionalization of Composing and Performing
•    The Consecration of the Cathedral of Florence
•    The Musical Establishments Stabilized
•    Heinrich Isaac
• 7 * Tradition and Innovation in Sacred Music
•    Tradition: Music for the Liturgy
•    Tradition and Innovation: The Quattrocento Lauda
•    Innovation: The Sacra Rappresentatione
• 8 * Heralds, Knights, and Carnival Revelers
•    Tellers of Tales
•    Medieval Chivalric Tradition Reimagined
•    Florentine Carnival and the Canto Carnascialesco
• 9 * Music and Domestic Life: The House of Medici
•    Occasions for Music-Making
•    The Patrons, Their Musicians, and Their Music
•    The Musical Sources
•    Varieties of Music-Making
• 10 * Girolamo Savonarola and the Medici in Exile
•     Theocratic Censure
•     The Medici in Exile, 1494–1512
• Book the Third
• Music in Renaissance Florence II: The Cinquecento
• Aristocracy Achieved: The De Jure Medici Regime, Family as Country, and “Florentinism”
• 11 * The Medici Restoration: The Florentine-Papal Tandem
•    The Restoration
•    Composers in Medici Service
•    Music in Private Medici Settings: Instrumental Music
• 12 * A New Institution, a New Technology, a New Genre: The Madrigal
•    Wellsprings of the Madrigal: The Chanson
•    Wellsprings of the Madrigal: The Canto Carnascialesco and Trionfo, the Lauda, and Solo Song
•    The Earliest Madrigals
•    Florentine Academies and Madrigals for the Theater at Midcentury
•    Intimate Settings: Isabella de’ Medici, Solo Song, and the Polyphonic Madrigal
•    Intimate Settings: The Florentine Madrigal after Midcentury
• 13 * The Church
•    The Reconstitution of the Polyphonic Chapels
•    The Reformation and Counter-Reformation
•    The Cinquecento Lauda and Sacra Rappresentatione
•    Intermedi Sacri e Morali and Music in Religious Communities for Women
• 14 * Medici Pageantry, 1539–1589: “L’état, c’est moi”
•    Book the Fourth
•    Music in Florence in the Baroque Era
•    Cross-Genre Influences: Monody, the Stile Recitativo, and the Stile Concertato in Florentine Music of the Seicento and Early Settecento
• 15 * Opera in Florence, Act 1: The Florentine Aristocratic Phase
•    Academic Theories Applied
•    The Beginnings of Opera
•    Widening Applications of the Innovations
•    The Meaning of Baroque
• 16 * Intermedio I: Music in Religious and Dynastic Ritual
•    Religious Ritual: A Cappella and Concerted Vocal Music
•    Religious Ritual: Music for Organ
•    Dynastic Ritual (“L’état, c’est moi”): The Equestrian Ballet
• 17 * Opera in Florence, Act 2: The Pan-Italian Phase
•    A New Institution: The Opera House
•    Beginnings of the Pan-Italian Phase: La finta pazza
•    A Native Attempt at a Venetian-Style Opera: Celio
•    Venetian Imports: Ipermestra
•    A Distinctively Florentine Tradition of Comic Opera: Il potestà di Colognole
•    Venetian Imports: Ipermestra, Redux
•    The Baroque Aesthetic on Full Display: Ercole in Tebe, L’Orontea, La Dori
• 18 * Intermedio II: Devotional and Convivial Uses of Music
•    Devotional: The Lauda Reimagined: Canzonette Spirituali
•    Devotional: The Oratorio
•    Convivial: Ballet Entertainments
•    Convivial: The Seicento Madrigal
•    Convivial: The Seicento Cantata
•    Convivial: Instrumental Genres
•    Convivial: The Invention of the Piano
• 19 * Opera in Florence, Act 3: The Pan-European Phase
•    Opera in Arcadia? The Halting Adoption of Reform Principles—Griselda
•    Grand Prince Ferdinando and a Restitution of Aristocratic Opera
•    The Reopening of Teatro della Pergola
•    Vincer se stesso è la maggior vittoria, or Rodrigo
•    Opera in Arcadia: The Fuller Adoption of Reform Principles—Catone in Utica
•    The Settecento Cantata
• Conclusion
• Acknowledgments
• Notes
• Bibliography
• Index
• Color illustrations follow page 000.